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In her early work Ruysch painted a large number of forest floor pictures that feature small animals, reptiles, butterflies, and fungi. She later adopted flower painting as her main concern and continued to paint until her death, thus continuing the 17th-century style right down to the middle of the following century. [11]
Strand was particularly influential in her development of cropped, close-up images. She received unprecedented acceptance as a female artist from the fine art world due to her powerful graphic images. [6] Depictions of small flowers that fill the canvas suggest the immensity of nature and encourage viewers to looks at flowers differently. [2]
Sophie Gengembre Anderson (1823 – 10 March 1903) was a French-born British Victorian painter who was also active in the United States for extended periods. She specialised in genre paintings of children and women, typically in rural settings.
Cicely Mary Barker (28 June 1895 – 16 February 1973) was the illustrator who created the famous Flower Fairies, in the shape of ethereal smiling children with butterfly wings. As a child, she was greatly influenced by the works of the illustrator Kate Greenaway , whom she assiduously copied in her formative years.
Wing scales. Male and female. Upperside. Ground-colour reddish-ochreous, basal areas olivescent-ochreous-brown; cilia black, alternated with white, Forewing with an outwardly-oblique black irregular-shaped broken band crossing from middle of the cell to the disc above the submedian vein; the apical area from end of cell and the exterior border also black; before the apex is a short white ...
Marguerite Jacquelin (1850s–1941), flower painter; Nélie Jacquemart (1841–1912), painter, art collector; Jeanne Jacquemin (1863–1938), painter; Marie Jaffredo (born 1966), comics artist; Marie Victoire Jaquotot (1772–1855), painter; Marine Joatton (born 1972), contemporary artist
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For example, sometimes the butterfly is resting on a flower stem, or on the edge of a table with a flower vase, or on a book. The butterfly was used as a device to draw the viewer's attention into the painting and into van Oosterwijck's artistic vision. [8] The butterflies are also symbolic of Christ's resurrection. [17]